Form, Rhythm, and Process in David Langs The Anvil Chorus

Kevin Lewis School of Music, University of Akron KDL8@uakron.edu

Abstract
David Langs The Anvil Chorus has found a place in the repertoire of many of the worlds top performers. The work attempts to evoke the scene of a medieval blacksmith shop where several blacksmiths are hammering away in different and contrasting rhythms; the composers use of repetition achieves this effect, and his methodical rhythmic processes demonstrate contemporary minimalistic techniques. This analysis will aid the performer not only in understanding the structure of the piece, but it may also help in memorization and rehearsal strategies. Additionally, the identification of the compositional techniques used in The Anvil Chorus will help to identify Langs style and the compositional techniques used in his other recent works.

work demonstrates and exemplifies his recent compositional methods and style.

Analysis

The Anvil Chorus is scored for two woodblocks, three resonant metals, four semiresonant metals, four non-resonant metals to be played with foot pedals, and a pedal bass drum. Though Lang gives the direction with chime hammers, the performer is best advised to instead use a hard mallet that produces consistent and even sounds on all of the instruments. The work is in a modified rondo form with a short coda. Lang uses several different techniques in his treatment of form and rhythm, and each will be examined and analyzed as they occur in the piece.

Introduction

2.1

A: mm. 1-56

Since its publication in 1991, David Langs The Anvil Chorus has become a staple of the multiplepercussion repertoire. The work is based on the concept of the intricate rhythmic patterns of hammering that medieval blacksmiths used to avoid accidents and injuries when working in close proximity to each other. In this adaptation, the soloist is asked to assume the simultaneous roles of many blacksmiths at one time to create complex textures of overlapping rhythms. Langs use of minimalistic, repetitive processes encompasses The Anvil Chorus, and an analytical examination of the

Minimalistic repetition pervades The Anvil Chorus, fittingly inducing the image of the blacksmiths constant hammering but also providing recognizable themes throughout the piece. The opening eight measures (Figure 1) feature repeated notes on the middle and low resonant metals in a pattern that is exclusive to these instruments and is used throughout the piece. The constant iteration of eighth notes establishes and maintains a steady pulse that serves to accentuate the syncopated rhythms that will soon be played on the semi-resonant metals. After the

Figure 1: mm. 1-8, opening phrase

The Anvil Chorus by David Lang. Copyright 1991 by Red Poppy. All rights administered by G. Schirmer, Inc. (ASCAP). International copyright secured. All rights reserved. Reprinted by Permission.

preliminary use of this phrase, it is again presented, but here it is accompanied by the fist instances of the semi-resonant metals and bass drum. These effectively function as the blows of the blacksmiths, delivering accented attacks in steady and precise rhythms (though the bass drums rhythm is only approximately consistent [durations of 75, 74, 72, and 72 beats respectively] and the first semi-resonant metal has one note that, oddly, is two beats shorter than the rest played on that instrument, the three semi-resonant metals used in this section are regular in their respective durations of 37, 30, and 24 beats). The opening phrase is presented for the third time, and is joined by the introduction of the second (and lowest) semiresonant metal. Upon the completion of this phrase, the listener is finally presented with the highest of the resonant metals in measure 25. This marks the entrance of the third semi-resonant metal and also a contrasting section and new compositional technique. It is here that Lang incorporates a cyclical method of substitution that alters the number of notes in a group (in this particular case, he changes meter). The resonant metals each take a turn in playing a measure of seven eighth notes, creating a three-bar phrase. A process of substituting a measure of six beats begins and gradually supplants the bars of seven until none are left. The following is a reduction of mm. 25-48 (grouped in three-bar phrases) that displays the number of notes in each measure and phrase and shows Langs process of substitution:

777 - 677 - 767 - 776 - 667 - 676 - 766 - 666 In discussing his music, Lang (n.d.) confers a desire to keep his works new and interesting by avoiding the conventional, unwritten rules of composition, including such ideas as tension and release and melodic contour. Here he speaks of using a series of unreliable, imperfect repetitions, an idea that is perpetuated with this substitution. Once the substitution process is over, the A section is concluded with a repeated statement of the eight-bar opening phrase.

2.2

B: mm. 57-113

The next section (Figure 2) greatly contrasts the opening and finds the steady eighths of the resonant metals to be replaced by a syncopated theme in the woodblocks. The semi-resonant metals, whose entrances are each announced by a companion non-resonant metal, function in the same way as they previously did in the A section, although their rate of attacks is truncated to durations of five, four, three, and six sixteenth notes (respective by order of entrance) making it very clear to the listener, unlike in their previous appearances, that each instrument is being played in a repetitive, consistent rhythm. Also contrary to the previous material, this section of the piece is metrically ambiguous due to the syncopation of the woodblocks, the absence of a steady rhythm that accentuates the downbeats, and the series of attacks on the semi-resonant metals that constantly and brashly shift the listeners sense of metrical stress.

Figure 2: mm. 57-79, B Section (excerpt)

The Anvil Chorus by David Lang. Copyright 1991 by Red Poppy. All rights administered by G. Schirmer, Inc. (ASCAP). International copyright secured. All rights reserved. Reprinted by Permission.

The treatment of semi-resonant metal instruments in the B section can be divided into four subsections of 12, 13, 12, and 20 measures. The first and third subsections are identical and feature the two lowest metals [these would be recognized as the notes (A) and (B) on the upper part of a bass clef staff]. The instruments alternate in entrances and articulate four groupings of notes. The groupings can be observed to have attacks on the (B) and (A) instruments, respectively, of 6-5, 56, 6-6, 5-5, which creates a pattern that is reminiscent of the structure of the opening phrase: 8-8, 7-8, 8-7, 7-7. Though ordered in a less methodical manner, these structures can be related to Langs technique of cyclical substitution in that they offer all of the possible permutations of two figures. The third metal (C) is introduced in the second subsection (mm. 69-81) and the fourth (D) in the final subsection (mm. 94-113). Each includes groupings that start with the highest and newly introduced metal of the subsection and cycles to the lowest metal, alternating the omission and inclusion of the second metal (B) in each cycle. These two subsections do not feature Langs method of substitution, but still follow an approximate pattern that maintains the number of attacks on each instrument; the absence of a strict pattern may be attributed to the necessity to adhere to the form that the woodblock theme dictates. Below is a chart displaying the number of attacks given to each entrance of the semi-resonant instruments in the second and fourth subsections: (C): 4-8-6-3 / 4-8-6-3-7 (B): 3-8 / 3-9 (A): 5-7-7-4 / 5-7-7-2 Though much less obvious here, Lang again returns to the use of repetition in the theme of the woodblocks. A seven measure motive found in mm. 57-63 is repeated six consecutive times in the B section. However, each statement includes one measure of extra material than the last. Figure 3 details the process. For the purpose of comparison, each statement of the motive is displayed on a separate staff. Boxes indicate material that has either been added or varied from the previous statement of the motive. Though there is not an

apparent process in the composers method of extending the motive that can be said to be consistent, two techniques can be observed; material is added 1) by extending the hemiola figure found in the second and third bars of the original motive (in the second, fourth, and sixth statements) or 2) by the addition of accented notes on the high woodblock and rests (in the third and fifth statements). The addition to the series of notes played on the high woodblock at the end of each statement of the motive is an obvious consistency found in all of the variations and one that aids the observant listener in finding the start of each new subject (Note: the last four sixteenth notes of the final statement are omitted. To compensate for this, ten beats of new material are added instead of eight.)

2.3

A: mm. 114-134

Just as the rhythmic dissonance of the B section seems to reach its climax, the listener is abruptly returned to the thematic material and the rhythmic stability of the opening. This time however, the form is dictated not by the resonant metals, but instead by a short motive that combines the bass drum and the highest semi-resonant metal (D) and its companion non-resonant metal (Figure 4) that gives an impression that is evocative more of a rock concert than of a medieval blacksmith shop. Here we find, in addition to repetition, a different sort of process. This motive encompasses a two-bar phrase. The first bar includes two statements of the motive separated by an eighth rest with the remainder of the measure filled by rests. The motive is heard one time on the downbeat of the second bar. The two-bar phrase is repeated with the first bar stated as before; however, the motive in the second bar now occurs one beat later than previously. This method of rhythmic displacement occurs once more, with the motive of the second bar of the phrase occurring two beats later than its original statement, which then concludes with a four-bar extension of similar-sounding material. These ten bars are repeated once again as a sort of accompaniment to the resonant metals, which are stated in their original form.

Figure 4: mm. 134-146, B Section

The Anvil Chorus by David Lang. Copyright 1991 by Red Poppy. All rights administered by G. Schirmer, Inc. (ASCAP). International copyright secured. All rights reserved. Reprinted by Permission.

2.4

B: mm. 134-154

This section gives the impression of completely new music. However, most of the substance of this section has occurred earlier. The underlying motive of the A section is stated once again, but it is now used as an accompaniment to the only combined use of woodblocks and resonant metals in the work (Figure 4). This combination appears to be original and perhaps even random, yet a closer look reveals that Langs use of the woodblocks is lifted from the last statement of the motive of the B section (mm. 102-113). The resonant metals serve to fill in the spaces between the woodblocks, creating a continuous line of steady sixteenth notes.

much brisker tempo. The notes of the resonant metals are now alternated with a consistent pattern of semi-resonant metals to create a constant stream of sixteenth notes (Figure 5). Though it is much more difficult to audibly recognize this time, we once again find Langs distinctive method of substitution that is present in the A section. The four semi-resonant metals are each stated with six notes in their first entrances. Gradually, they are replaced by groups of five notes in a cycle that defines the length of this section, which concludes when all of the semi-resonant metals have been substituted. The following maps the structure of the process: 6666-5666-6566-6656-6665-5566-5656-5665 6556-6565-6655-5556-5565-5655-6555-5555

2.5

A: mm. 155-198

Once again, the resonant metals of the A section return in their original form, albeit at a

Figure 5: mm. 155-169, A Section

The Anvil Chorus by David Lang. Copyright 1991 by Red Poppy. All rights administered by G. Schirmer, Inc. (ASCAP). International copyright secured. All rights reserved. Reprinted by Permission.

2.6

Coda: mm. 199-218

attacks played on each instrument. Though it is perhaps more likely that the listener will hear phrases of four as in the opening of the A section, the technique is shown here in phrases of three groups for the purpose of demonstration: 887-887-776-776-665-665-554-554-44 This technique, in addition to the accelerando and stratification of many different rhythmic patterns, acts to represent an increasingly frenzied atmosphere as work in the metaphorical blacksmith shop intensifies and eventually ceases.

The Anvil Chorus culminates in a short coda (Figure 6) in which the composer combines the techniques and processes that he has used in the piece and their accompanying themes. The resonant metals perform their familiar pattern while being accompanied by the semi-resonant and non-resonant metals and their respective material from the B section (mm. 57-76). Here we also find a new cycle of accented bass drum notes articulated every five beats. Though the restatement of the opening eight measures implies a return to the familiar structure of the A section, Lang instead diverts and provides a pattern that gradually diminishes the number of

Figure 6: mm. 199-218, Coda

The Anvil Chorus by David Lang. Copyright 1991 by Red Poppy. All rights administered by G. Schirmer, Inc. (ASCAP). International copyright secured. All rights reserved. Reprinted by Permission.

Conclusion

A close examination of The Anvil Chorus reveals five simple compositional devices that, depending on their usage and combination, create varying levels of complexity in the work. Repetition of thematic material is used within the same section or in contrasting sections throughout the piece. The themes of the resonant metals and woodblocks best exemplify this. Repetition of static rhythms includes the use of the semi-resonant metals in the A and B sections and coda. These rhythms are often used to create expectation, which Lang then denies with the sudden introduction of a new rhythm or structure, rejecting the possibility of passive listening. Such repetitive rhythms are also present in some of Langs other works in a slightly different form. In the second movement of his percussion quartet, The So-Called Laws of Nature, a melodic figure of four notes grows from eighth notes to dotted eighths to quarter notes and back to dotted eighths and eighths, which creates an arched rhythmic structure that is repeated several times. This technique is similarly used in the companion piece to The Anvil Chorus, Scraping Song. Cyclical substitution is a method that replaces one meter or group of notes for another and results in a systematic series that includes all of the possible permutations of the two contrasting figures. Despite its mechanical consistency, the process is nearly inaudible to the listener, who is perpetually left guessing what (s)he will hear next. Examples are found in the middle part of the A section (mm. 25-48) and the semi-resonant metals of the A section. This technique is used even more prominently in Scraping Song, and is found to be the determining factor of form in all but two sections of the work. In the second movement of So-Called, this device can be found in the melodic patterns of the three high metal pipes. Rhythmic displacement gradually relocates a figure in each of its successive iterations. This is found in the bottom staff figure of the A and B sections. Though its use and importance is limited in this work, it is an essential technique in some of Langs other works and especially in the third movement of So-Called, in which the attacks on the bells and woodblocks are gradually displaced by one eighth note. The process completes as each

note is gradually moved from one side of a measure and back. This method functions similarly to cyclical substitution in its establishment of form (in So-Called) and in the denial of the listeners expectations. Stratification of rhythmic layers occurs throughout the work and especially in the coda. This technique juxtaposes several simple rhythms and results in complex rhythmic textures that often obscure the listeners perception of time and meter. Stratification of rhythms defines much of Langs music. In the second movement of So-Called, each of the four lowest pitched metal pipes is played with the same eighty-one measure rhythm. However, with the introduction of each pitch occurring several measures apart, the listener is presented with a complex texture of overlapping melodies and rhythms. In general, this method of juxtaposition is found in much of Langs music and serves to add an increasing amount of complexity as a piece progresses. In his artist statement, Lang (n.d.) says,
I love the mechanics of music, the nuts and bolts of it. What links all of my music together is not a sound or style or tonality, but rather mechanical things about how pieces are structured.

Indeed, the same mechanical devices incorporated in this piece can be found throughout Langs recent compositions, especially his other works for percussion. It is hoped that the identification of these processes and techniques in this analysis of The Anvil Chorus will help the reader to realize the commonalities of Langs works and to aid in the performance and study of his music.

References
Lang, D. 1991. The Anvil Chorus. New York: Red Poppy; administered exclusively by G. Schirmer Inc. Lang, D. 2001. Scraping Song. New York: Red Poppy; administered exclusively by G. Schirmer Inc. Lang, D. 2002. The So-Called Laws of Nature. New York: G. Schirmer Inc. Lang, D. (no date). Artist Statement. [From an interview with Deborah Artman]. Retrieved December 27, 2006 from http://www.redpoppymusic.com/d/index.html